obsessive compulsive disorder movies

Oct 2

This is called Dawn, Buñuel, 1956

I won’t comment on some of the visible Buñuel elements, such as giving a turtle as a token of love, petting a cat before killing someone, and a donkey being whipped. The only classic one is the following:

This wired Jesus in Dr. Valerio's office is much more interesting than the Claudel and Dali on Officer Frasero's desk.

The film is about an hour long. After Agda's death, Sandro goes to the tunnel. Buñuel clamps the camera to the other end of the tunnel where it is blocked to film Sandro wandering in the tunnel, wailing. At that time, I had a hunch that this tunnel would be used again. Sure enough, Sandro finally committed suicide here. Is this a particularly good design? In short, redemption does not exist.

Sandro committed suicide on the left staircase. A place that seems to be a place of salvation from this hellish world.

The reason why redemption does not exist is because some people like Valerio are willing to take on debts for themselves and nail themselves to a cross from which they can never get off. For Valerio, if there were no such debts, there would be no "love" between people. On the other hand, we never know why Valerio does not love Angela, because we never see Valerio feel guilty in front of Angela, although he verbally said in his conversation with Clara that he felt sorry for Angela, but here comes a very ironic theme: separation. Compared with Angela, Valerio himself is actually more unable to separate.

Valerio should know that no matter he is having an affair with Clara or harboring Sandro, he is desiring the "impossible" itself. Only in this way can he convince himself to break off with others such as Angela and her daughter, the police officer, and Gorzon. After withdrawing from all the desires of others for him, Valerio gets "love", but these are the most classic fantasies of returning to the mother body of obsessive-compulsive disorder - in the sound of accordion, at the dock, Valerio takes Clara to a proletarian utopia of unity, equality, and fraternity, disgusted with the filthy land and eager for the pure land, but as long as there is "soil", there is "human nature", and "human nature" is a terminal illness.

"And then?" Clara asked Valerio a question he was destined not to be able to answer.

Finally, Geoerges Marchal is more Pasolini than Pasolini.